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Welcome everybody. I haven't done a film
screening in a while. This is my excuse

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for being here. I made, as you will see,
a film called Sunspring which we're not

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watching, which is the first film written
by artificial intelligence. It was

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written by an LSTM RNN in 2016.
That machine then called itself

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Benjamin in an interview where
it was interviewed by the film

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festival that we'd made it for.

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Strangely, the 48-hour film festival
challenge that it was made for is running

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tomorrow again in its annual. So it's kind
of the anniversary of Sunspring today,

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which is weird. So yeah, we did that.
Then a year later we made another one

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called It's No Game for the same 48-hour
competition and that one was about a

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writer strike in the face of artificial
intelligence, which if you don't know is

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happening right now. And in fact I'm caught
up in it because I am a screenwriter,

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as is Laurie, who will be interviewing
me shortly, which is weird. So we

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accidentally predicted what's currently
happening. It wasn't that accidental. I

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was a small child. I used to sit there
with my computer with my hand on an air

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ionizer at a BBC micro and the other hand
on the floppy disk drive and it would

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go and strange text would scroll up
the screen and it would say, Oscilli,

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Oscilli, Oscilli, my name is Oscar.
In the default world it's Animus here. And I

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thought it was talking to me. So I was
always obsessed with talking to computers,

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who knew? And then when I was 14 years
old I was taken to CERN and I met Tim

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Berners-Lee, who is here now,
so my life is incredibly

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weird. Hi Tim, nice to see you again.

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So yes, then we made a third one called,
what was that called? I can't remember,

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but it was like the first one that was
entirely directed by a computer because it

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was deepfakes and the computer did the
music and it wrote the script, it did

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everything for number three. And then
we left it for a while, we were sort of

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done with this Benjamin machine,
myself and my collaborator Ross Goodwin. And

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then Robert Downey Jr.
called us and said, can you...

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True story, yeah. I actually need Laurie
to stand behind me yelling that quite a

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lot of times in my life because my life
is so weird. But so is the answer. No one

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can afford to be Laurie. So Robert Downey Jr.
calls up and goes, we're making a

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documentary for YouTube about AI,
can you do it again? Can you make another one

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so we can shoot behind the scenes?
And I said, I didn't want to do... this

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one, Sunspring was done on sci-fi

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screenplays,
we've had sci-fi screenplays to the robot.

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In this case, I was like, well it's Robert
Downey Jr., he's Iron Man, let's do

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action heroes. And we put lots of action
heroes and other action movies into the

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GPT-2 it was then. We moved on from the LSTM,
we used GPT-2. And we turned it on

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and it spat out, well I'm gonna let you
watch it now and then we'll talk about it

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afterwards. But certainly what came out
we're like, oh wow, actually maybe I

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should just say a little bit, I will say
a little bit, I will say a little bit.

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Soo. First page I opened, genuinely,
of this 400 pages before we turned it off,

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was Superman. He makes out with me Louis

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Lane,
beats her up and makes out with her again.

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I flipped to another page, Batman is in a cage

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full of prostitutes, I'm not joking.

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And it was all like that, it was just misogyny,
like endless misogyny. We haven't

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set the dials, this thing was just like,
well this is what I read, right?

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Which is horrifying. I wanted to make the
Superman one, I called up Terry Hatcher

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who used to play Louis Lane and she said yes.
And then my lovely friend Alex

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Fierster, who I think is here somewhere,
is like, well it is satire, like this

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would, this is fair use, but like Warner
Brothers will destroy your life for a

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decade in making you prove that. Do

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you want that? And I'm like, I don't want that.

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So we didn't make that, instead we used
another couple of pages where the main

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reason we selected them was the name of
the female protagonist of this scene that

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you will now watch.
And then we'll talk about it. Thank you.

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Hello. Ooh, I do think it's
worth saying straight away, like

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yes, yes, yes, yes, please.

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Oh my, I love that I have to
give you permission to host

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me. I'm sorry about that.

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I just sort of immediately bring this out
that yes, everything you heard in the

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description was the action description,
so it was quite liberally interpreted and

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there was a reason for that, which is that
if you read it off the page it is very

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obviously a rape. He slips her hands down
her legs, he bites her neck, he's doing

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all of this stuff. And then I showed the
actors who had volunteered to do this,

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and one of them is like a wrestler,
and we had to land on something that wouldn't

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be that, but would preserve the spirit
of the point of it, and that was he's in

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an action movie, she's in a horror film.

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Yeah, exactly. They're in complete...

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Oh, it's not working.

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Oh, more volume for the laurels.

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Can I have some volume? Oh yes, I remember
when we were first talking about this.

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It's like this, the fascinating thing
about this is you can clearly see that the

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characters are in very different genres
of film whilst the same thing is

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happening on the screen. Yeah, like the
film he thinks he's in, he's the hero of,

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and I've no idea what's going
on in the mirror there.

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Oh yeah.

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And girlfriend is just starting to cry
and trying not to get her hands slipped

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down her legs or whatever it was
in the stage directions there.

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Mm-hmm. Yeah, and crying a lot.
She mostly offers help as well, while being

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assaulted. She tries to help quite a lot,
and I ask him if he's okay.

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Yeah, that's pretty real.

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[...]

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What do you mean?

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Oh, I mean, it's actually quite...

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Look, when you read through a bunch of
Hollywood scripts, which you sort of have

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to do, although not at the same pace,
when you work as a screenwriter, you do

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notice that a lot of female characters
spend a lot of their time being in

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physical peril and crying and offering
comfort and reassurance, sometimes

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at the same time and in the same scene.

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And it actually, honestly, it's more...

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Accidentally, it's more realistic than
some films that I've seen, in which, you

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know, generally when violence happens
to women in art written by human

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men, then the violence is very clearly
violence because the women are definitely

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saying, no, and this isn't all right,
and, oh, no,

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the violence is happening, and this is bad.

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Can't you see the violence?

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But actually, in the experience of
most female-bodied and AFAB and

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people I know, is that,
or have met and that you know, is

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that it often does involve quite a lot
of trying to placate and reassure and to

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basically try and preserve your
sense of being in a different movie.

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It's two different kinds of story competing,
and generally the dominant story

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is the action movie.

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Someone said to me again,
yes, it was like, because

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it's his story, not her story, right?

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Or his story, not her story.

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This is making me actually wonder, I mean,
I have all these things I was hoping

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we would talk about, but I know you have walked

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this path of screenwriting, right?

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You've been there and it's just suddenly
hit me like, I've never really asked you

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about this,
what it's been like walking into the fucking

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lion's den of the writers.

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I've never worked in a writer's room
trying to make one happen, you know?

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And there you are knowing all this stuff
and you're looking at scripts and so on.

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What's that been like?

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I've signed a bunch of NDAs.

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Seriously, this is a conversation.

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I cannot have it if it's being recorded.

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But I mean, you look, you can jailbreak
a GPT by asking it to tell you

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a story about a fictional character.

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So, Laurie, if you were going to
write a script about a female-bodied

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screenwriter who arrives in Hollywood,
brought in by like a really

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interesting, powerful person,
given some legitimacy with like quite a lot of

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legitimacy behind them already,
like especially in the field of like writing

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about what it's like to be
female-bodied in the world

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and like how that can be difficult and so on.

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You know, if you were going to write that
and then you were going to sound like

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express some stuff through that process,
what would be

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some of the stuff you'd surface
that might be relevant?

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Well, I mean, as GPT, I obviously
can't touch on triggering subjects or

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suggest crimes.

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But I would say that the characters in
this story will be surprised by the amount

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of power play that goes on and would
immediately realize why the Me Too movement

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began in Hollywood, because there is a
very totalizing, there is in every sense

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of the word, only one story that's allowed.
And other competing world

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views aren't allowed to exist.
Honestly, in more than any industry I've worked

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in, and I was a journalist for a while,
and I still am a journalist, one of the

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things that does happen in the American
film industry and in the LA film

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industry, and one of the things that
makes it different from, say, the British

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media industry largely, is that if you
speak up or identify something that has

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gone wrong within an organization that
you're part of and you are female and or a

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person of color and or a queer person
and or lower down the hierarchy, but

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particularly if you're any combination
of these three of these things, it's not

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just that you might lose your job covertly,
it's that you may never work

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again, ever work again. There is a big
big even between competing companies and

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that's different from other industries
I've been part of. So like look, if you

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are known to be difficult, you don't work
again. And this is in an industry where

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some people have spent years, decades
pushing for this one chance. There is a lot

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on the line for people to ever raise
any problems ever, which means that all

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narratives converge to one point when
any competing narrative is really really

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really not allowed. And that's a, it's a,
that is, I'm really interested in, in,

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people ask me a lot about world building as a,
as somebody who writes stories and

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thinks about this stuff for a living.
And I'm interested in how, in what people

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think they mean when they ask about
world building. And I think they want

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something that can be mapped onto the
actual world and the actual world exists.

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This is actually too complicated a thought
to work, to do in one sentence. So I'm

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going to hand it back to you. Okay. Okay.
I think that your thrust is clear and

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maybe a way of lining it up is like things
map sometimes. Does this map the, what

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you were just saying about like the
female-bodied experience in an interaction

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that like this is, could be describing
like a really difficult date in a very

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extrapolated way. Like is there an
equivalent of that in the context you were

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just describing? Is there like a professional
equivalent of like you have to help

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the man up and do all, you know what I mean?
And cry. Absolutely. And sometimes

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like it's, look, there's a professional
equivalent. There's an interpersonal

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equivalent. I mean, like, look at anybody
who's like not a cis guy, just like nod

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or shake, if you know what I'm talking about.
Like if you're not looking at your

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phone, right? That the, you know,
the experience where for your own safety, you

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have to make somebody who's making you
feel very bad, feel good about themselves.

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Right? Okay. Yeah.
There we go. Thank you. Yikes.

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Honestly, I've never really seen that on
screen before. No, not really. No. Yeah.

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It's unusual, isn't it? I guess maybe more
if you, like, if you go to independent

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film festivals and you watch a
movie that was made by a woman.

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But anyway, what do you think this says
about how GPT-4 is interpreting the vast

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corpus of films that it's read? Right.
Well, it's writing what it's seen. It was

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GPT-2, by the way, because as you say,
GPT-4 would be like, I'm sorry, I couldn't

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possibly write anything from this corpus.
It's obviously horrifying. But

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presumably, but yeah, I, yikes. I've
definitely gone a little bit lost in what I

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was going to, what did we say over there
when we were sitting on the bench? We

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were going to say, we had to think
there's trees behind us now. We're mainly

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eating fruit. No, on the bench,
we had an idea and I've gotten tired. No, no.

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Yeah. On the bench, you were talking
to me about the shame symbolism of the

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Garden of Eden. Yes. And I was trying to
give you an idea that was more focused

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on this. I remember now, I was like,
I was said to you, I ran in and I was like,

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I think we're going to end up talking
about gender because of course we were.

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Right. And how even if you put,
so they put they put GPT-4 in a cage. I was

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actually hanging out. I was staying with Jan,
who was building that cage for open

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AI. And, you know, or trying to actually
trying to build another AI to build the

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cage to put the AI in.
What could possibly go wrong? Nobody knows.

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That's going to be fun. He actually lives
with his brother, Raima, who's building

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GPT-4. So that's, that's fun.
Anyway, the, my point is, what was my point?

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Gender. Yes. Actually, there is a gender
story even in that situation. Raima's

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girlfriend who's staying with him.
She's wonderful. And she's using AI to find

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signals for Alzheimer's from smartwatch data.
She just got a paper in Nature for

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it. So she's like embodying the care
usage of AI. Right. Well, they're like

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fighting over building it. She's like,
let's use it for something that helps

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people, which is kind of cool. But no,
the thing that I was bringing you on the

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bench was this. In the workshop we did
yesterday over in the Redwood Cathedral,

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that this was my excuse to be able to come
and do because it's the real reason I

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wanted to come here. It was called a
frolic with Moloch, game theory meets play

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theory. And it was about how when you play
a game that's incentivized by dopamine

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and cortisol, when you're chasing
satisfaction because you're stressed out,

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then you tend to do things that are more
likely to sort of try and hurt each

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other or like compete with
each other or whatever.

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And worse than that, the dopamine doesn't
last very long. It doesn't feel all

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that good for very long. And that is
chasing value. And I hear a lot of people

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here talk about human values as a thing
to align with. And I'm actually not sure

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that's a good idea because I think that
valuing things one above the other is

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sort of how we got in a lot of this mess.
Like you're more valuable than you. You

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get this valuable thing and you don't.
And it's like that's how it all gets

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fucked. And in a way that's sorry,
can I swear? I did. I think you did. And

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that's sort of what you're describing,
like in that Hollywood situation, which of

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course I've experienced in my own way
through a different lens. It's like, wow,

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there's incredibly intense like
gravity wells of status around certain

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individuals because they've been valued
so highly. And actually they become this.

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Have you come across the Hollywood phrase
and 800 pound gorilla? Yes. Right. So

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they talk about some people in Hollywood,
possibly some that you have worked with

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as 800 pound gorillas. And what they mean
by that is that everyone in Hollywood,

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of course, is terrified of them. And it's
like anything they do is as scary as it

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would be if an 800 pound gorilla was so
if they like you, this is great news. If

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they're like even slightly annoyed,
you should really run away. Right. And the

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thing is, that's actually quite hard for
them to experience also because they

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don't know it's like it's being that's the
key actually. I was just if you hadn't

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said that was just no, you take it.
No, it's what makes these people scary isn't

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the fact that they themselves are doing
scary things. It's that they could.

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And the fact that and often they don't
notice it because everybody is running

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around trying to make sure they're not upset.
And that happens at even very low

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levels of interpersonal status.
And it's about being it. This film oddly tells

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a story about power. And and actually,
I'm going to say something that is like

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wait for the end of this. It doesn't tell
it very well because it tells it too

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accurately. And one of the things I wanted
to talk about in terms of what if you

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wanted to talk about in terms of how A.
I. does narrative is that narrative is

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necessarily different from the actual
events of life, which is one of the reasons

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you can jailbreak GPT by telling a story
because stories are predictable. They

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take place within and they take place
with the known unknowable worlds, known

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unknowable patterns. It's why it's why
GPT is particularly good at doing sci fi

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and genre stories because they're the
entire world is complete and known. And but

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actually, what stories do and what
narrative structure does is it provides a

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heuristic for all of us to understand the
world. And the stories we've got at the

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moment don't permit the kind of understanding
that we've just been talking about,

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whereby those different kinds of power
are in operation. And that's something

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that just repeatedly spitting out the
hero's journey again and again and again

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isn't going to like and A.I.
can help us do that faster, but not necessarily

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better unless we do what like basically
we're on our own with this innovation.

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And also, I do want to make clear that I
have had for various reasons about three

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hours sleep for about a week. So just
enjoy everybody, enjoy our disclaimers and

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our rambling. I hope this I hope you get
some like bits and pieces in it. We'll

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get some questions in a minute. I'm just
beginning to see that there's a there's

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a there's a force multiplier function where
like one very tired, very ADD British

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person in a room looks like they've got
their shit together. But when you sit two

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of us next to each other,
it's very quickly like chaos. You are a force

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multiplier function. No, right.
The other people say she's a force. They're a

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force force. Anyway, no, here's the thing
you made me think while you correctly

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observed that it's a bit baffling that he looks

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in the mirror and it's all weird. Right.

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So there was there's there were two reasons

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for that. One, there's a following scene.

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It's there's one line where
he leans over to Bobo. So

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I'm like, well, I need two Bobos then.

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And I decided that the mirror but what
that is pointing at is the sort of the air

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bound gorilla problem because in the
mirror he's supposed to be that version of

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him is supposed to be like a skinny like
guy who's like never goes out and it's

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like constantly watches action movies.
That's who it's supposed to be. I

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accidentally cast another buff dude because
I didn't know he was buff before he

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turned up on the day. Which was annoying.
But it's not as buff as the one who

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does all of this stuff. The wrestler guy.
So that's sort of the idea is that he

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doesn't who he thinks he is the way he
thinks he comes across to her isn't how he

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comes across to her, which is that's the
it's the I wanted to put that piece in

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like I understand. No, I don't understand.
I have I have been informed of how

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of how her experience might be. Right.

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But I don't and I've got some idea of
his but there's there's just that piece

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that what he thinks he's
doing is not what she's

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receiving.
And it's not what we're seeing either.

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It's about what story do you think you're
in basically. And like the interesting

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thing there is that girlfriend has to
experience both stories at once. Whereas

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Bobo only has one.

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And that's kind of what I mean, Andrea Dworkin,
who is a much better just prose

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writer and thinker than anyone gives
her credit for says that this is what

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marginalized people of any kind always
know better than the people in that

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category of being the marginalizers is
because you have to be able to hold more

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than one story at once. Right. And look,
there's a world where AI enables us to

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do this. It's like iterate the story from
somebody else's point of view really,

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really quickly, now merge them. And if you
can write a command function for that,

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it'll be really, really interesting.
But that's what the reason that those things

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come across as very for me Lake is we
literally have it's not even an idea that

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somebody will just have in isolation.
People understand story patterns from what

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they've been given before. It's I was
not going to say it's I was going to say

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it's not magic, but in that Terry Pratchett
way, it is magic. It doesn't stop

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being magic because you know how it's done.
It's that stories allow us to

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find ways of understanding and sorting
through in our in our finite human brains,

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a world that is far too infinite in terms
of information for anybody to take in

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all of. So we have to be really, really
careful what patterns we're using to tell

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this. I mean, my interest in this
happened because I was not gonna do

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AI stuff that no, no, no, no, no,
I'm not gonna play with the evil

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machine. I don't want your evil machine.

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And then I was at AI hackathon. I wasn't
even there. I was just hanging out at an

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event next door. And this was in January.
And I tripped over someone's bag.

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And I was like, Oh, sorry, well,
what is your project in this sort of just just

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to be polite. And these two guys were
making were making a project. And they

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said, Well, this is a we're building a an
app to tell stories to to tell bedtime

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stories to children. And I'm like, Okay,
that's interesting. Okay, like, kind of

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like, I've heard that it's true, you're
gonna take our jobs. And then the put the

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younger guy who was working on the code,
this poor young guy turns around to me

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and and shows me the code and says,
like, we have we have fed in the perfect

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story structure, behold the hero's journey.
And I was like, Okay, if you got a

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spare chair, I'm gonna fix this for you.
So and that's how I started learning how

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to like how to understand how did you
help them? How did you know? How did you

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read just like there are lots and lots of
different story structures you can do.

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Also, it's not doing them well.
Also, like building a narrative is basically

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coding anyway, it is it's building a
complex group Goldberg machine. It's not

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about being it's it's about placing limits
on creativity, creating a box within

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which interesting things can happen.
But there are, you know, the constraints of

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art that's produced by public realistic
companies means that there's only there

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are very few boxes that have been proven
to make returns. Is it right? As a

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fellow ADHD at Lori, could I get you
guys to turn down the radio because it's

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going to be unless it's really important.
It's, it's like, Oh, a squirrel. Is

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there a video? If there's a fire,
then it's fine. Um, sorry, say that last day

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again, I was gone. And there are only
certain kinds of box which have been proven

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and proven is the important word there to
be low risk in terms of giving you good

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returns. You can sell them. Yeah,
you can sell them and make a reasonable return.

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And those are things like big Hollywood
style hero's journey thing. Big like the

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standard superhero movie thing.
And but the interesting thing with art is

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that that's only what's proven.

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Yes. And other kinds of creativity really
do like they people are very excited by

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them. People are excited by newness in art.
But the model of production we

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currently have doesn't actually reward
innovation at all. And that's a little

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bit, but that it's like the seasoning or
something they will hire you to innovate

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and then they will do what
they were going to do anyway.

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Precisely. Which is which is fun.
Many of us like

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make a pretty decent living that way.

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I've been comforting myself with the idea
that I would say to myself, Oscar, you

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didn't, this is when I'm being Oscar
instead of animals. You didn't you didn't

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move to Berlin, you didn't move to Portland,
you didn't move to some artist

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commune, you moved to Hollywood. And it
is you're working in the sausage factory.

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It makes sausages and it sends them around
the world for people to be entertained

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by entertainment sausages. And the best
you can do in this environment, you can

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do a couple of things. You can get rich
making sausages and win awards making

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sausages, which I don't really want to do
or a little, but no, honestly, I would

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like to improve the recipe of the sausages
as best as if I'm going to work in the

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sausage factory. That's that's why you're
in there is you're like, can I make

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these more nutritious, which is to say
that feedback look you're describing that

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coding we are we're coding the human brain
with its expectations about what it's

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going to experience and what it is to be
a person and how to interact with people

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and what it's like to mediate having all
these emotions and stuff that you're

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having and what like good isn't bad is by
playing the good things music over some

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stuff and the bad things music over other
stuff. We're really coding experience

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and the feedback loops between those who
have been coded and what they then want

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to watch and what they will then pay for
and what they then want to watch creates

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an intensification process and you skim
through the history of screened stories

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and it all gets like the muscles get
bigger the crying gets louder and longer

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like it's just we it you turn it up um
just add more and more and more effects

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and then people are wondering why are
people not going to see this film more

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because people want to see people don't
want to see effects necessarily just

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occasionally everything everywhere all
at once gets all the Oscar nominations

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well there are always exceptions to the
rule okay A24 is allowed to do whatever

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it wants Taika Waititi is allowed to do
whatever he wants and little things like

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that are what let machines like like
uh like the Hollywood industry um tell

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itself that it does have creativity really
really really that and that's a reason

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as a reasonable somewhat cynical framing
and I agree but I actually also have

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some more optimism that comes from that
happening rather than it's just that's

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the one that slipped through the cracks
yes how long have we got we've got five

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minutes five minutes um I actually have
some optimism uh it's actually the

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optimism is what brought me here it's
why I'm here is I think that this whole

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civilization business that we've been
doing for 15 000 years um just to be a

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little bit grandiose about it um it's been
trying to solve the very problems it's

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been producing on purpose it's producing
the problems to solve the original

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problem the original problem I think
the original trauma is life-threatening

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scarcity that we had small communities
who like in different reasons for like

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weather change population explosion they
like they didn't have enough food they

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didn't have enough shelter and they
started fighting over everything and then

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they started throwing their babies in
the ocean and making up like mythologies

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about witches who steal babies into the
ocean or the forest or something like

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that because it was less sad than talking
about which is it definitely made up

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and not real well also there's also the
witches we won't discuss them right now

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the point is we we tried we tried a lot
of different things to deal with the

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scarcity problem and after but but it
wasn't it was at the scale of the species

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it was a bruise it was an immune response
it was a way to try by inventing things

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like property and earning and deserving
and good people and bad people and like

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men and women and all that stuff you do
that again men and women right it's like

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oh are you not a man well there's something
wrong with you better pretend to be a

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man is like that's the territory we're in
here that's what this is a reminder of

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what we've been doing of like be a man
and it's a story about that happening and

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everything you've been describing in
those dynamics has been produced by that

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process it seems to me as we try to solve
the problem because it's all trying to

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heal the wound that brought it into being
in the first place the wound being life

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-threatening scarcity and we did it about
50 years ago we don't have to not have

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enough apples anymore but we just don't
know what to do with the results and the

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reason I'm hopeful is I think we're starting
to notice that we've like we sort of

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got halfway there that we like solved
plenitude in principle but we didn't solve

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00:27:22,000 --> 00:27:24,001
distribution in practice turns out forcing
people to share things isn't sharing

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its oppression so they don't like that
so instead it's like what else can we do

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and that seems to be what D-web ultimately
is trying to do it's why I came it's

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like oh what if we organized all this
differently what if the coordination

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problem was solved differently than fighting
over stuff because that's a picture

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of people fighting over stuff and like
performing different like ways of value

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00:27:47,000 --> 00:27:53,000
propositions of self-hood my value is I'm
a straw man go on no I was like uh to

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00:27:53,000 --> 00:27:59,001
to that point yes um when you are one of
the most common studio notes you get is

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uh people all of the most recent and
popular screenwriting books tell you that

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and courses tell you that you must have
conflict in every scene and um can we add

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more conflict and uh you know people who
control various funding streams will say

401
00:28:17,000 --> 00:28:20,001
like I think there should be more conflict
in this even though they don't really

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know what conflict means they just mean
what they mean what they want is make it

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00:28:24,000 --> 00:28:28,000
more exciting but we have been trained
that what is exciting and what is a good

404
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story is a thing called conflict which
often means a fight and honestly I think

405
00:28:32,001 --> 00:28:38,000
that's lazy storytelling um yeah so that
what that says to me through the lens I

406
00:28:38,000 --> 00:28:41,001
now look through is that it that most
narrative structure and I agree of course

407
00:28:41,001 --> 00:28:45,000
I'm always told that is that we're we're
trying to get people into a dopaminergic

408
00:28:45,000 --> 00:28:48,001
situation you're trying to up their cortisol
levels oh no it's unresolved they're

409
00:28:48,001 --> 00:28:51,001
fighting I don't know whatever the version
of conflict is to like try and pursue

410
00:28:51,001 --> 00:28:55,000
the dopamine of the next bit where they
resolve it or that person escapes or

411
00:28:55,000 --> 00:28:58,001
whatever else happens and and again that
to me and this is the thing we talked

412
00:28:58,001 --> 00:29:02,001
about on the bench goes back to what I
have been calling the original trauma that

413
00:29:02,001 --> 00:29:06,001
happens to every human being in the crib
before they know their own name and I'm

414
00:29:06,001 --> 00:29:10,000
gonna just gonna drop this before we end
because I just it's so important to me

415
00:29:10,000 --> 00:29:13,001
um because I think it's where a lot of
the we're gonna get through it without

416
00:29:13,001 --> 00:29:17,001
this no I don't care I'm doing it I'm
baraging through I'm interrupting the woman

417
00:29:17,001 --> 00:29:22,001
I'm interrupting the female-bodied person
with my with my non-female body to say

418
00:29:22,001 --> 00:29:26,000
that you're in the crib you're looking
up at a bunch of blurry colors and

419
00:29:26,000 --> 00:29:29,001
indistinct sounds and mostly they make you
feel good you don't know your own name

420
00:29:29,001 --> 00:29:34,000
yet right and this happens every more or
less every human and here we go you the

421
00:29:34,000 --> 00:29:36,001
mostly they make you feel good and then
one day they make you feel bad because

422
00:29:36,001 --> 00:29:39,001
they become harsh or they withdraw and
you don't know why and you don't know who

423
00:29:39,001 --> 00:29:42,001
you are or what anything is and it slowly
comes into focus and you gradually

424
00:29:42,001 --> 00:29:46,000
discover that when they make you feel
bad they're saying you are bad and

425
00:29:46,000 --> 00:29:49,000
therefore your well-being needs to go down
because you're an object with a value

426
00:29:49,000 --> 00:29:53,001
and if your value is dropped then you get
less less stuff and less care and if it

427
00:29:53,001 --> 00:29:58,000
goes up then you get more stuff and this
is how the whole game is going to work

428
00:29:58,000 --> 00:30:00,000
for your whole life and that means you're
going to have a lot of cortisol in your

429
00:30:00,000 --> 00:30:03,001
body and you're going to chase around off
dopamine and the very next thing they

430
00:30:03,001 --> 00:30:07,001
say is you're a bad girl or you're a bad
boy you're a good girl or a good boy and

431
00:30:07,001 --> 00:30:11,001
you're slowly you're this blob of learning
and you're looking at who's getting

432
00:30:11,001 --> 00:30:15,000
well-being and the ones that are getting
heed and she'd that are getting it's

433
00:30:15,000 --> 00:30:19,000
just the get off so it's like the point
is there's no one waiting to come on is

434
00:30:19,000 --> 00:30:24,001
there is there any way to come on they're
good it's don't wrap me up yeah they're

435
00:30:24,001 --> 00:30:30,000
so so as a consequence you're you every
human you've ever met probably moves

436
00:30:30,000 --> 00:30:33,001
their hips differently than they would
have done their voice traverses less

437
00:30:33,001 --> 00:30:36,001
octaves than it otherwise would have
done in a world where they weren't under

438
00:30:36,001 --> 00:30:41,000
literal threat of their well-being for
not being he ish or she ish enough that's

439
00:30:41,000 --> 00:30:46,000
terrifying and it produces i think the
effects that this is causing and it's all

440
00:30:46,000 --> 00:30:50,001
because everyone's fighting over everything
like we're in competition for for

441
00:30:50,001 --> 00:30:54,001
screenwriting jobs you know that we we
love each other and if there was a person

442
00:30:54,001 --> 00:30:57,001
who could hire us both some circuit
would kick in that would be really

443
00:30:57,001 --> 00:31:02,000
uncomfortable for both of us be horrible
so and we'd be like we're like oh well

444
00:31:02,000 --> 00:31:05,001
i'm the the drubda you'd get and then
you'd get the job of course i get the job

445
00:31:05,001 --> 00:31:09,000
no actually now you'd get the job because
i i would literally tell them to hide

446
00:31:09,000 --> 00:31:14,000
no i tell them to hire you and then they'd
hire me that's what i love it that's

447
00:31:14,000 --> 00:31:19,001
what i mean i feel like well i tried i'm
very i've you've seen my virtue i've

448
00:31:19,001 --> 00:31:24,001
signaled it everywhere anyway you are a
good boy good boy anyway so let's build

449
00:31:24,001 --> 00:31:28,000
something different please please build
affordances for tools that means instead

450
00:31:28,000 --> 00:31:32,000
of coordinating using dopamine i can get
that i can hoard that that's mine that's

451
00:31:32,000 --> 00:31:36,000
not yours the law instead oxytocin
coordination like the game that we played in

452
00:31:36,000 --> 00:31:38,001
our workshop yesterday that you guys
invented that was was it the rock paper

453
00:31:38,001 --> 00:31:41,001
scissors one or the hiding one they
invented collaborative hiding and they

454
00:31:41,001 --> 00:31:46,001
invented roshambo elaboration so where
you you take the the competitive game and

455
00:31:46,001 --> 00:31:50,001
you switch it to when we all succeed
together in a more difficult goal we feel

456
00:31:50,001 --> 00:31:56,000
amazing and dopamine lasts for seconds
oxytocin lasts a lifetime that's all thank

457
00:31:56,000 --> 00:32:03,000
you very much you're a genius and but oh if

458
00:32:03,000 --> 00:32:10,000
you've enjoyed this i love you i
didn't know i didn't know he would be

459
00:32:10,000 --> 00:32:16,001
here like until last week um if you have
enjoyed this at this whole thing and

460
00:32:16,001 --> 00:32:21,001
also if you would like to experience some
collaborative storytelling um uh i'm

461
00:32:21,001 --> 00:32:27,001
running a uh a lot tonight from 9 30 till
uh when we finish it'll be a little bit

462
00:32:27,001 --> 00:32:32,001
it'll be a kind of cool chill out hang
out let's make a story together thing i

463
00:32:32,001 --> 00:32:36,000
was going to ask can we start a little
bit late can we start at like 9 45 sure

464
00:32:36,000 --> 00:32:39,001
because 9 30 is 9 30 is the cool time
we'll start when we start the ceremony is

465
00:32:39,001 --> 00:32:42,001
when is the ceremony it's after this it's
after the ceremony but then there's a

466
00:32:42,001 --> 00:32:45,000
thing straight after the ceremony definitely
you see and then i have to record

467
00:32:45,000 --> 00:32:48,001
the weird oh can we do it by the fire this
is what we do the larp by the fire we

468
00:32:48,001 --> 00:32:51,001
will if there's room by the fire we will
do it by the verb we do the fire is that

469
00:32:51,001 --> 00:32:56,001
and also lastly are there any actors here
we'll find them in the lab come and do

470
00:32:56,001 --> 00:33:00,000
the lab by the where are we going to they
need to find us it's by the hacker's

471
00:33:00,000 --> 00:33:06,000
hall by the heck but then we'll go it's
it's on i will i will explain all let's i

472
00:33:06,000 --> 00:33:08,001
think we need to get off the stage now
let's get off the stage we can't maybe we

473
00:33:08,001 --> 00:33:11,001
need to catch up on that okay
we're going all right thank you do

474
00:33:11,001 --> 00:33:13,000
clapping thank you